And You Thought It Was Safe(?)


From Russia with Love (1963)
The Parents Television Council began stalking Bond early on, fearing he might encourage children to become globe-trotting secret agents. Who SMOKE!

The Parents Television Council began stalking Bond early on, fearing he might encourage children to become globe-trotting secret agents. Who SMOKE!

With Dr. NoBond producers Harry Slatzman and Albert Brocoli turned one million dollars into sixty. The collision of good casting and good direction, along with enough sex appeal for most genders and orientations to get at least something out of the deal, created a sustained fusion reaction between the Cold War Era spy thriller and the kind of pulp adventures not seen (by self-conscious adults, scared their friends might think their entertainment “childish”) since before the Second World War made everyone so serious.

The studio that backed Dr. No, United Artists, called for a sequel by October, 1963, handling EON Productions a whopping two million dollars to get the job done. Is it any surprise From Russia with Love went with the Bigger Is Better and More is More philosophy that’s characterized Hollywood sequels from the very beginning? No. What’s surprising is that it worked so well, when conventional wisdom would have it sequels inherently suck. Yet this remains many people’s favorite James Bond films, including Sean Connery’s, Daniel Craig’s and Timothy Dalton’s. Who am I to snark at it?

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Dr. No (1962)
"Why, yes, I am awesome. Thank you for noticing."

“Why, yes, I am awesome. Thank you for noticing.”

Grab your nearest bottle of Lafite Rothschild ’62 because, on top of everything else going on and despite the apparent superiority of the Rothschild 63, this year – 2012 – marks  the fiftieth anniversary of James Bond’s debut on film.

Not that this is Bond’s true film debut. Oh, no. The story of his cinematic birth wouldn’t be nearly as interesting if it were. In 1954, a TV movie version of Ian Fleming’s first Bond novel, Casino Royale, premiered on the CBS anthology series Climax! to…pretty pathetic results, really. Far as I’m concerned, the best thing about that Casino Royale was its score, written by a twenty-five year-old ex-typist named Jerry Goldsmith.

It sounds like Fleming always wanted to export his secret agent superhero to flickering image-based mediums. But Fleming, like a lot of other writers at the dawn of the TV era, inked a lot of bad deals with a lot of shady operators who preferred squatting on film rights to actually making movies. One of these was the Canadian producer Harry Saltzman, a man of (up ’til then) modest success who hoped to make it big…and saw his chance when his screenwriter friend Wolf Mankowitz introduced him to American producer Albert R. Broccoli. Know as “Cubby” to his friends.

Together, Saltzman and Broccoli formed the holding company Danjaq (a portmanteau of their wives’ first names) as a storehouse of Bond’s trademarks. Danjaq’s subsidiary, EON Productions, would do the work of actually making films. Thunderball was to be the first, since it began life specifically as a screenplay…but Fleming grew impatient and eventually turn it into the ninth Bond novel…without crediting his co-screenwriters. This situation quickly escalated into a lawsuit, forcing Saltzman and Broccoli to change course. They chose the sixth in the series, Dr. No, for adaption, and here we are, fifty years later. Continue reading